Ernst Ludwig Kirchner Most Known Paintings, Art Master

Ernst Ludwig Kirchner was a German expressionist painter and printmaker and one of the founders of the artists group Die Brücke or "The Bridge", a key group leading to the foundation of Expressionism in 20th-century art. He volunteered for army service in the First World War, but soon suffered a breakdown and was discharged. His work was branded as "degenerate" by the Nazis in 1933, and in 1937 more than 600 of his works were sold or destroyed.
He was born in Aschaffenburg, Bavaria. His parents were of Prussian descent and his mother was a descendant of the Huguenots, a fact to which Kirchner often referred.[3] As Kirchner's father searched for a job, the family moved frequently and Kirchner attended schools in Frankfurt and Perlen until his father earned the position of Professor of Paper Sciences at the College of technology in Chemnitz, where Kirchner attended secondary school. Although Kirchner's parents encouraged his artistic career they also wanted him to complete his formal education so in 1901, he began studying architecture at the Königliche Technische Hochschule (royal technical university) of Dresden. The institution provided a wide range of studies in addition to architecture, such as freehand drawing, perspective drawing and the historical study of art. While in attendance, he became close friends with Fritz Bleyl, whom Kirchner met during the first term. They discussed art together and also studied nature, having a radical outlook in common. Kirchner continued studies in Munich from 1903 to 1904, returning to Dresden in 1905 to complete his degree.
In 1905, painter and printmaker Ernst Ludwig Kirchner, along with Fritz Bleyl, Erich Heckel, and Karl Schmidt-Rottluff—all untrained in the visual arts—founded the artists’ group Die Brücke, or “The Bridge,” a moment that is now considered the birth of German Expressionism. Impelled, in Kirchner’s words, to express themselves “directly and authentically,” they rejected academic art as stultifying and searched for means to make work that possessed a sense of immediacy and spontaneity. They culled inspiration from the emotionally expressive works of Vincent van Gogh and Edvard Munch; Oceanic and African art they encountered at ethnographic museums; and German Gothic and Renaissance art, which led them to enthusiastically embrace the woodcut, a print medium through which they pioneered their signature style, characterized by simplified forms, radical flattening, and vivid, non-naturalistic colors.
The Brücke artists craved to “bring life and art into harmony,” upending conventions in both to cultivate what they considered a more instinctual and natural way of being—a reaction shared with a larger German youth movement against new realities of urbanization and conservative imperial German society. In their communal studio, decorated with non-Western art and erotic images, they made life-drawings from nude models in unselfconscious, informal poses. They spent summers together with their girlfriends on lakes near Dresden, allowing nudity and free love to reign, and conjuring this bohemian existence in their works. Kirchner’s woodcut of four nudes moving tranquilly in a rhythmic frieze, Bathers Throwing Reeds (1909), typifies this period, embodying *Brücke*’s utopic vision of a world untouched by encroaching industrialization and other alienating forces of modern life.
At the outbreak of World War I, Kirchner volunteered for service, but he soon experienced a physical and mental breakdown and was discharged. After convalescing in sanatoriums near Davos, he spent the rest of his life in the area, portraying its rural scenery, mountains, and villagers in his work. He also began to experiment with abstraction, reflecting his goal for “the participation of present-day German art in the international modern sense of style.” But the Nazis deemed Kirchner’s art “un-German,” and in 1937, as part of their Degenerate Art campaign—waged against works of modern art, which they seized by the thousands from museums and private collections—they removed more than 600 of his paintings from public collections. The following year, he took his own life.

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